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There is a simple alternative to all this - "better, but still not perfect," in Stanley Kubrick's words - which involves masking the top and bottom of the transmitted TV image and showing the film in what the industry calls "the letterbox format." The image stretches from one side of the screen to the other, leaving a narrow black border at top and bottom and losing only the extreme sides of the frame. This technique reasonably preserves the director's original compositions. European television has been using such masking for years, but American television has remained leery...
Film makers are already considering alternatives. Kubrick thinks "the ideal solution, extremely simple to do, would be for theatrical films once again to be shot in the original format that was the standard before CinemaScope." Director Martin Scorsese is launching a film-preservation committee that will attempt to ensure, among other things, that "if film makers make a picture in 'Scope, it gets shown that way on television." And Spielberg, who says that Manhattan looked "wonderful" masked, is going to "insist" that the next network showing of Close Encounters be masked as well. "Maybe...
Dean James Vorenberg, an old friend of Greenberg's, argues that in the mini-term's ten-hours-a-week format, the course has the same class time and the same two credits as the original. As for the resistance to Greenberg, the dean says, "It works against, not for, shared goals of racial and social justice." Argues Roger Fisher, a faculty member normally sympathetic to minority activists: "It is a mistaken notion to think one must personally be the victim of a particular problem to be able to teach about that problem. One need not be charged...
...heart of CNN'S day is from 7 p.m. to 10p.m. E.T.: half an hour of business and economic news, followed by half an hour of sports, and then two hours of world and national reports. "A newspaper you can watch" is the way Turner describes it. The format for the rest of the day is much like an extended version of NBC's Today or ABC's Good Morning America: sober and almost impersonal in the hourly news summaries, folksy in such soft segments as Arden Zinn's exercise class and Dr. Steve Kritsick...
Jerome Robbins is another choreographer about whom she has mixed feelings. In general the JL format of Going to the Dance-relatively brief, tightly focused pieces on specific works or companies- is adequate, but Robbins trails through the book like a wraith. One gets only pieces of a critique: that his masterpieces are Afternoon of a Faun and Dances at a Gathering, that he is often too clever by half, that he is good at finding the moves that enhance young dancers. One finishes the book feeling the need of a real assessment of Robbins partly because he draws such...